Thursday, 6 October 2016

Matisse drawings create an exhibition of beautiful purity

“Drawing
is like making an expressive gesture with the advantage of permanence.”

That quote
is at the heart of a new exhibition celebrating Henri Matisse’s mastery of line
drawing, which opens tonight at the Eames Fine Art Gallery in south London.

In our
familiarity with Matisse as a master of vibrant colour, it’s easy to forget the
striking simplicity and purity of his drawing.

Throughout
much of his career, he also utilised a wide variety of printing techniques, and
the collection that the gallery has put together unites lithographs and
etchings to great effect.

However
easy he made drawing look, Matisse was quite clear that it was an effect that
resulted from long discipline.

“If I trust my drawing hand,” he said, “it is
because, in training it to serve me, I forced myself never to let it take
precedence over my feelings.”

The works here – and all are available for sale,
with prices ranging from £400 to £4,000 – are linked by poetry.

From Florilège des Amors de Ronsard

Matisse himself loved poetry so much that he would
start each day with reading verse before he began work.

The prints in this exhibition come from three
suites: Poésies from 1932 was inspired by the work of the same name by
the 19th century French poet Stéphane Mallard, while Florilége
des Amours de Ronsard from 1948 illustrated the courtly love poems of 16th
century poet Pierre de Ronsard.

The third series was inspired by the poetry of
Charles-Antoine Nau, which was in turn inspired by visits to the Caribbean and,
in particular, Martinique.

Years after Nau’s death, Matisse decided to create
an album of poems, linked to a series of lithographic studies of models from
Martinique.

The project began in 1945 and was completed by
midway through the following year, but the album remained unpublished.

In 1972, 18 years after the artist’s death, his
heirs and Fernand Moulot, the intended printer, agreed to print the album as Poésies
Antillaises.

Portrait of Charles-Antoine Nau

“I have always considered drawing not as an
exercise of particular dexterity … but as a means deliberately simplified so as
to give simplicity and spontaneity to the expression, which should speak
without clumsiness, directly to the mind of the spectator,” stated Matisse.

Here we see that simplicity in all its beauty:
works that seem at once light years away from the bright textures and
decoration that filled so many of the artist’s canvases, and yet also so
instantly recognisable as works by the same man.

As if to remind us of the contrast and connection,
a cabinet holds a vividly-coloured lithograph of a cut out from 1954, the year
of Matisse’s death.

It is a joy to be able to let the eye take a walk
around the lines of such deceptively straightforward drawings – a reminder
(were it needed) of Matisse’s timelessness.

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London-based journalist, writer, photographer and artist, with one Other Half and three cats.
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